HeyJaredLouis Lu
- Indexed articles, last 90 days
- 6
- Latest publication
- Aug 29, 2026
- Outlet visibility, for ArtAsiaPacific
- Top 5M sites
- Earliest in this view
- Jul 8, 2026
Latest articles
Shows to See in Korea, September 2026 (opens the original)
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Korakrit ArunanondchaiPost Ritual Bodies Kukje Gallery, BusanAug 28–Oct 31 Few artists work the seam between animist belief and the networked image as restlessly as Korakrit Arunanondchai. The Thai-born, New York- and Bangkok-based artist assembles personal memory, Buddhist cosmology, ecological catastrophe, and half-buried historical events into films and immersive environments. His signature bleached-denim paintings, scorched and body-printed, are like relics of past ceremonies. Theatrical and
Ho Tzu Nyen: After Commemoration (opens the original)
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History rarely unfolds as a clean sequence of events. It loops, stalls, folds one moment into the next, and reappears under different names. It is assembled after the fact, from documents, images, and songs—spirals of myths and archival residues. What we call the past is often a composite: facts braided with ideology, memory shaped by the needs of the present. For the better part of two decades, Ho Tzu Nyen has been preoccupied with time, history, and the archive, mining period cinema, colonial
Up Close: Lawrence Abu Hamdan (opens the original)
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John Cage learned, inside the anechoic chamber, that silence does not exist. Even in a room engineered to abolish sound, he heard the hum of his nervous system and the low throb of his pulse. The lesson he drew was to let sounds be themselves, unburdened by intention or meaning: listening as a discipline of pure attention, remote from power, politics, or justice. As much inheritor as subverter, Lawrence Abu Hamdan—the self-styled “Private Ear”—has spent more than a decade examining how sound and
Gwangju Biennale Agrees to Restore âTaiwan Pavilionâ After Dispute (opens the original)
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The Gwangju Biennale Foundation has agreed to the use of the name âTaiwan Pavilionâ for the exhibition organized by the National Taiwan Museum of Fine Arts (NTMoFA) at the 16th Gwangju Biennale, resolving a dispute that had drawn international attention. The foundation confirmed the decision on August 25. The following day, the National Asian Culture Center (ACC) approved the pavilionâs use of exhibition space and delivery of equipment, both of which it had previously withheld. The decisio
âA Score for a Human Lifeâ: Wallace Chan at Shanghaiâs Long Museum (opens the original)
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I met Wallace Chan this past May in Venice during the opening week of the Biennale, which coincided with the debut of his two shows in the cityââVessels of Other Worldsâ at the chapel of Santa Maria della Pietà and âMythosâ at the Scala Contarini del Bovolo. In conversation he returned repeatedly to the word vessel, drawn to its doubleness: a thing that holds and also travels, âcapable of absorbing the culture of wherever it arrives and then returning, altered, to its point of origin
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For ArtAsiaPacific, the outlet · Measured Aug 1, 2026
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